Thanks to Kris Straub at chainsawsuit.Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.
“But what would you put on the door?!” said a facility manager at an airport, his concern echoed by an administrator at a university: “When people are looking for a restroom, they look for the ‘man or woman’ icon. It’s what we know to look for that means restroom.”
We can’t have gender neutral bathrooms, you see, because there’s no symbol for it… or is there?
This is the symbol used at the University of Colorado, Colorado Springs. Sam Killermann, the social justice activist at which the above statements were aimed, doesn’t prefer it. “Even if you’re familiar with gender identity and diversity,” he writes, “the literal interpretation of this image (a half “man” half “woman”) is a disconcerting representation of ‘gender neutral.’”
So, what is there to do? Killermann has an innovative solution. “I had this breakthrough moment,” he says, “where I was like, ‘If I was urgently in need of a toilet, what visual cue that a room contained a toilet could I use?’”
“It’s really not that hard.”
Killermann wants us to replace all the man and woman signs on one-person, private public restrooms with this one — or with the British-inspired W.C., which he has decided stands for “who cares.” Print yours here.Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.
While there has been significant attention to recruiting women into STEM fields, what about the converse – recruiting men to female-dominated fields? My recent article in Gender & Society analyzes the recruitment strategies of key health care players, examining themes of masculinity in text, speech, and images.
Some recruitment items, like this early poster from the Virginia Partnership for Nursing, asked viewers “Are you man enough to be a nurse?” Aspects of hegemonic masculinity — characteristics associated with being the culturally defined “ideal man” — are common themes in the poster, including sports, military service, risk-taking, and an emotionally-reserved demeanor:
Since the “Are You Man Enough?” campaign in the early 2000’s, nurse leaders have tried to make recruitment messages less ostensibly gendered. In discussing the American Assembly for Men in Nursing’s (AAMN) new campaign, Don Anderson notes:
Nursing recruitment efforts needed to evolve from asking men if they were masculine enough to be a nurse to something less gender specific
Despite the effort to “de-genderify” nursing (Anderson’s word), masculinity is still front and center. Though the slogan is different, materials continue to emphasize culturally idealized forms of masculinity. One of the AAMN’s newest posters, “Adrenaline Rush,” avoids the “man enough” rhetoric, but maintains the theme of a stoic, emotionally-detached masculinity through visual cues. Most of the nurse’s face is covered – limiting emotional expression—while risk-taking is emphasized.
But not all recruitment materials employ a macho form of masculinity. Johnson & Johnson’s 30-second clip “Name Game” portrays a caring and emotionally competent nurse:
Key health care players, including an international organization (Johnson & Johnson), urban hospital systems, nursing programs, and organizations like the American Assembly for Men in Nursing (AAMN) have devoted resources to recruiting men into nursing. Analyzing their recruitment strategies reveals as much about contemporary tensions within masculinity as it does about the profession’s push for gender diversity.
Check out more of the recruitment materials and a more in-depth analysis in the article, “Recruiting Men, Constructing Manhood: How Health Care Organizations Mobilize Masculinities as Nursing Recruitment Strategy.” For a free copy, contact me at email@example.com.
Marci Cottingham is a postdoctoral fellow in the department of Social Medicine at the University of North Carolina – Chapel Hill. She received her Ph.D. in sociology from the University of Akron. Her research spans issues of gender, emotion, health, and healthcare. For more on her work, visit her site.
Cross-posted at Pacific Standard.
In the wake of Elliot Rodger’s misogynistic killing spree, the media’s role in male entitlement and violence against women has brought commentators to virtual blows. One right hook came from Ann Hornaday, who argues in the Washington Post that male entitlement fantasies are part of a climate in which women are displayed as objects for the sexual fulfillment of men. This post is about how full frontal nudity in True Blood, Hung, and Game of Thrones contributes to this climate.
While there are dozens of examples of full frontal female nudity in True Blood’s six-season run, from lead actors to extras, there are only two instances of full frontal male nudity.
A striking example of the exploitation of women as sex objects is in the appearance and figure of Lillith, a vampire goddess who is featured rising from a pool of blood, walking around fully nude for extended scenes. Her minions do the same and are also shown full frontal.
When a male character drinks Lillith’s blood and effectively becomes her, he too rises out of the pool of blood. But unlike the actresses associated with Lilith before, the camera cuts away before reaching his waist.
In another stark example, vampires hold several dozen humans captive. While all the humans are naked, men in one cage and women in another, it is only the women who are displayed fully frontally nude.
When the werewolf packs in True Blood disrobe to turn into wolves, again it is only the females who are demonstrated fully frontal.
Hung is a program about a down-on-his-luck teacher who, because of his large penis, became a prostitute. Though the entire show is about Ray Drecker’s member, we only get one brief glimpse of it — and not even the whole — yet his clients and sexual partners are often shown fully frontal.
Even when a show is about the sexual objectification of a man and his sexual organ, it’s still women who are the default sex objects.
Game of Thrones.
Game of Thrones has come under fire for its sexism, misogyny, gratuitous nudity, and violence against women. As usual, women are portrayed fully frontally nude in most Game of Thrones episodes, even when their male sexual partners are not. This is especially striking in the many brothel scenes (unnecessarily) scattered about the seasons; even when there are both male and female prostitutes, only the women are shown full monty.
To date there has been only one full frontal male on Game of Thrones: Theon Greyjoy. Through a horrific series of events, Theon is tortured and castrated. In episode six of season four — “The Laws of Gods and Men” — we are offered once again a gratuitous display of naked women in a bathhouse. In the same episode Theon is also offered a bath and while his full frontal, for once, would have actually been part of the plot, we do not see it.
In episode eight — “The Mountain and the Viper” — we are given another bathing scene in which members of the Unsullied, an army of castrated men, bathe in the vicinity of women in the same convoy. Surprise, surprise, the women are fully frontal and the men are not. Even sans one particular physical marker of male sexuality, these castrated men are deemed unseeable.
Neil Marshall, who directed the Blackwater Bay siege episode in Game of Thrones‘ 2nd season, recently spoke about how he was urged by a producer to include more full frontal female nudity. The producer explained that he was “not on the drama side of things,” meaning that he didn’t care about the story. Instead, he said, he was on the “perv side of the audience.” This is concrete evidence that orders for the systematic sexual objectification of women comes from upper management.
Ultimately, nudity is rarely necessary to further a storyline. Women’s nudity isn’t about plot, it’s about treating women as objects and men as human beings. The problem is systemic. Women’s bodies exist in many of HBO’s varied worlds to serve men, circling us back to a culture of male entitlement that, in the case of Rodgers at least, led directly to violence.
Cross-posted at Pacific Standard.
According to data gathered from the Corpus of Contemporary American English by linguistics PhD student Nic Subtirelu, women are called “pushy” twice as often as men, while men are more likely to be described as “condescending.”
At his blog, Linguistic Pulse, Subtirelu argues:
Condescending seems to differ from pushy and bossy in an important way, namely that it seems to acknowledge the target’s authority and power even if it does not fully accept it.
Subtirelu has also ran the numbers for “bossy” and found that it was used to described women 1.5 times more often than men.Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.
Earlier this year, Barbie posed for Sports Illustrated, triggering a round of eye-rolling and exasperation among those who care about the self-esteem and overall mental health of girls and women.
Barbie replied with the hashtag #unapologetic, arguing in an — I’m gonna guess, ghostwritten — essay that posing in the notoriously sexist swimsuit issue was her way of proving that girls could do anything they wanted to do. It was a bizarre appropriation of feminist logic alongside a skewering of a feminist strawwoman that went something along the lines of “don’t hate me ’cause I’m beautiful.”
Barbie is so often condemned as the problem and Mattel, perhaps tired of playing her endless defender, finally just went with: “How dare you judge her.” It was a bold and bizarre marketing move. The company had her embrace her villain persona, while simultaneously shaming the feminists who judged her. It gave us all a little bit of whiplash and I thought it quite obnoxious.
But then I came across Tiffany Gholar’s new illustrated book, The Doll Project. Gholar’s work suggests that perhaps we’ve been too quick to portray Barbie as simply a source of young women’s self-esteem issues and disordered eating. We imagine, after all, that she gleefully flaunts her physical perfection in the face of us lesser women. In this way, Mattel may be onto something; it isn’t just her appearance, but her seemingly endless confidence and, yes, failure to apologize, that sets us off.
But, maybe we’re wrong about Barbie?
What if Barbie is just as insecure as the rest of us? This is the possibility explored in The Doll Project. Using a mini diet book and scale actually sold by Mattel in the 1960s, Gholar re-imagines fashion dolls as victims of the media imperative to be thin. What if Barbie is a victim, too?
Excerpted with permission:
Forgive me for joining Mattel and Gholar in personifying this doll, but I enjoyed thinking through this reimagining of Barbie. It reminded me that even those among us who are privileged to be able to conform to conventions of attractiveness are often suffering. Sometimes even the most “perfect” of us look in the mirror and see nothing but imperfection. We’re all in this together.
Cross-posted at Pacific Standard.Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.
Below is a remarkable commercial in which a white woman is told that if she buys Pampers, the company will donate vaccines to children in other countries. Thanks to Kenjus W. for the submission.
It is an example of “activism by purchase,” which we have discussed at length on this blog. Apparently Pampers will only help keep babies alive if you buy their product. How nice of them.
It’s also a fascinating example of the way in which white Westerners are seen as rescuing the rest of the world. This white mother with her white baby represent the West (erasing the diversity of people who live there). And she and her baby are counterposed to all the other mothers and their babies representing different racial groups (which are assumed to be coherent categories, even continents).
In the narrative of this commercial, all women are bonded by virtue of being natural nurturers of babies (and I could take issue with that, too), but the white Western woman is the ultra-mother. They may be sisters, but there are big and little sisters in this narrative. The babies run to her as if drawn to her ultra-motherhood and she treats them all, just for a moment, as if they were her very own.
Pampers wants you to think, of course, that when you buy a pack of Pampers, you are “helping” Other mothers and can save those Other babies.
This is just another manfestation of an old colonial belief, the white man’s burden, or the belief that white men had to take care of the rest of the world’s people because they were incapable of taking care of themselves.
Great find, Kenjus!
This post originally appeared in 2008.Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.
At Pew Social Trends, Gretchen Livingston has a new report on fathers staying at home with their kids. They define stay at home fathers as any father ages 18-69 living with his children who did not work for pay in the previous year (regardless of marital status or the employment status of others in the household). That produces this trend:
At least for the 1990s and early-2000s recessions, the figure very nicely shows spikes upward of stay-at-home dads during recessions, followed by declines that don’t wipe out the whole gain — we don’t know what will happen in the current decline as men’s employment rates rise.
In Pew’s numbers 21% of the stay at home fathers report their reason for being out of the labor force was caring for their home and family; 23% couldn’t find work, 35% couldn’t work because of health problems, and 22% were in school or retired.
It is reasonable to call a father staying at home with his kids a stay at home father, regardless of his reason. We never needed stay at home mothers to pass some motive-based criteria before we defined them as staying at home. And yet there is a tendency (not evidenced in this report) to read into this a bigger change in gender dynamics than there is. The Census Bureau has for years calculated a much more rigid definition that only applied to married parents of kids under 15: those out of the labor force all year, whose spouse was in the labor force all year, and who specified their reason as taking care of home and family. You can think of this as the hardcore stay at home parents, the ones who do it long term, and have a carework motivation for doing it. When you do it that way, stay at home mothers outnumber stay at home fathers 100-to-1.
I updated a figure from an earlier post for Bryce Covert at Think Progress, who wrote a nice piece with a lot of links on the gender division of labor. This shows the percentage of all married-couple families with kids under 15 who have one of the hardcore stay at home parents:
That is a real upward trend for stay at home fathers, but that pattern remains very rare.Philip N. Cohen is a professor of sociology at the University of Maryland, College Park, and writes the blog Family Inequality. You can follow him on Twitter or Facebook.